Spotlight on: Nicholas Ward, Baritone

Nicholas Ward, Baritone

Editor's Note: Today's blog comes from an article in our 2015 Opera Insider (Festival Resource Guide). Emily Murdock (Associate Director, Education & Community Engagement) interviewed Nicholas Ward, one of our Apprentice Artists. He portrays Elder Son in our one-act opera The Prodigal Son this year as well as Marquis D'Obigny in La Traviata.

You were a Central City Opera Bonfils-Stanton Apprentice Artist in 2014 and a Studio Artist in 2013. What does Central City Opera offer to emerging opera professionals that you’ve found helpful in your career?

I feel that Central City’s program has prepared me to take on any challenge that I face in the world of opera. Between an intense class schedule, top-notch coaching, and fabulous productions, the young artists at CCO are prepared for anything. I’ve had the opportunity to perform in a huge variety of productions, ranging from grand opera to chamber opera to musicals with distinguished principal performers. CCO really offers the full package of training for somebody at the beginning of an opera career. The knowledge I’ve gained from the coaches and directors is invaluable, and I’ve been able to take what I’ve learned and apply it to my work outside of the program. I think one of the most valuable things I’ve learned here is how to get up in front of people and perform without fear. Singing in front of your colleagues can be nerve-wracking. Once you do it a few times, you get used to it and find that there’s really not much to be worried about. Now, auditions feel like a breeze! I’m glad to have learned so much in such a supportive environment.

Nicholas Ward was featured as part of the Trio in last year’s Trouble in Tahiti. Photo by Aaron Peterson.

You will be singing the role of the Elder Son in The Prodigal Son, one of our one-act operas that will be produced in Central City and Colorado Springs. What are you most looking forward to with this production?

First of all, Britten’s music is spectacular, this piece in particular. I’m really looking forward to tackling the unique challenges it presents. This is very much an ensemble piece. The singers and instrumentalists have to rely on each other for entrances, cues, and meeting points. Britten even uses his own notation to indicate special types of cues and passages. I can’t wait to get to work on this music with my colleagues, and hopefully form relationships with the instrumentalists as well. I’m also very excited to be performing this work in church venues. I think this will be a fantastic opportunity for the community to experience something very different than what is presented at the opera house. Churches provide such an excellent space for intimate performances. We’ll get the chance to connect with our audience in a very special way.


Can you relate to your character of the Elder Son in any way?

Well, I am a real-life older brother! Lucky for me, I have a wonderful family. We get along, unlike the brothers in The Prodigal Son. Other than that, I don’t see a whole lot of this character in myself, but I understand why he feels the way he does in his situation. He is an easily-angered, jealous and self-righteous person. He works diligently for his father, but his intentions are selfish. When the subject of inheritance arises, he goes ballistic and essentially disowns his younger brother. He can’t show compassion and doesn’t understand why his brother is being treated with love and kindness despite his mistakes. I think there are many valuable lessons to be learned from the stories of both sons. Many of us have felt the sting of jealousy or entitlement. The question is; how do we deal with these feelings? The story of the Prodigal Son gives us some examples of what can go wrong, and that it’s important to appreciate what we have. I’m very much looking forward to delving into this character and bringing him to life for CCO audiences.

Central City Opera's 2015 Festival runs through August 9. Check out the2015 Opera Insider (Festival Resource Guide) for additional artist interviews, background on the original production and even musical versions of word search and Sudoku!

"Death by Aria" and the Artists Training Program

Editor's note: This is our first post from Tyler Donovan, our 2015 PR/Marketing Assistant Festival Intern. Welcome!

From left: Katherine R. Weber, Molly Hill, April Martin, Cristina Bakhoum. Maya Kherani, Hannah Christine Busch. and Tatiana Ogan
The women of the 2015 Bonfils-Stanton Artists Training Program at "Death by Aria"

Last Sunday, the annual Central City Opera “Death by Aria” concert was held by the participants of the 2015 Bonfils-Stanton Foundation Artists Training Program.  Pieces were performed from operas by Rossini and Massenet, among others. The concert allows the Young Artists to demonstrate their skills and acquaint themselves with their fellow performers and designers. Participants of the Artist Training Program also function as the chorus for the Festival’s operas. 

Studio Artist, Isaac Assor

Studio Artist Isaac Assor is excited for the Festival: “It’s a wonderful season. Man of La Mancha was one of my favorite shows growing up, and it’s nice to get to do that in an opera setting, and The Prodigal Son has just been really rewarding and challenging”. Assor will have the chance to be a part of shows outside of the Opera House, one of the unique aspects to this Festival. CCO’s The Prodigal Son will be performed at churches in Central City and Colorado Springs while Don Quixote and the Duchess will be featured in a historic venue in Central City as well as the First United Methodist Church in Fort Collins: opera is being taken "out of the box" this summer.

The 10-week young artist program provides daily opera training in diction and movement, makeup and costuming, individual vocal coaching, and sessions in career management such as how to write a resume and maintain a performance portfolio, how to audition in order to succeed, combined with rehearsals and performance opportunities. The widely known program has become a national model for the comprehensive development of young singers. To learn more, visit one of the following web pages:

• Bonfils-Stanton Foundation Artists Training Program
• Get to know the 2015 Apprentice Artists
• Get to know the 2015 Studio Artists
• Central City Opera's 2015 Festival, running July 11 - August 9
• Follow Central City Opera's adventures with the hashtag #operaoutofthebox on Facebook and Twitter, including through the company's year-round offerings with our Ensemble Artists

Central City Opera Begins 2014 Festival with a (Dynamite) Bang

The mining town of Central City runs reliably like clockwork: ominous clouds followed by only light rain between 2:00 and 4:00 in the afternoon, then a bustling Eureka Street at 5:00, and finally a starry sky at midnight above the Rockies. On June 28, however, there was only sunlight, the traffic consisted of waltzing fathers and daughters, and the night was starry per usual, but this time alight with the dazzling cast and crew of Central City Opera’s The Marriage of Figaro.

Opening Night for Central City Opera’s 2014 Festival ran without a hitch. Denverites enjoyed the balmy weather as they arrived in Central City on Saturday afternoon in summer dresses and tuxedos. Children and grandparents, patrons and Guild members sauntered up and down Eureka Street, annually closed off for the opening’s festivities where cameras snap and champagne pops. The historic Johnson House and budding Teller House Garden hosted the opera patrons as they lounged in the sun before the day’s events began.

The Opera House basks in Saturday's sun on its 2014 Festival's Opening Day.

The familiar dinging of the Opera Bell rang for the first time this season at 4:50 PM – Festival Staffer Austin Abernathy announced that the Flower Girl presentation for the Yellow Rose Ball, Colorado’s oldest debutante ceremony, would begin in ten minutes. Powerful as the Opera Bell is, it was the booming dynamite blast at 5:00 PM from the staff of Hidee Gold Mine that truly kicked off the Festival. Chairman Emeritus Lanny Martin then introduced each of the 24 Flower Girls as they gracefully descended from the top floor of the Teller House down into its garden. Donning white gloves, the teenagers looked lovely in lavender as they assembled one by one in front of the Opera House, accompanied by their dapper escorts, for a photo op.

The 24 Flower Girls and their escorts pose in front of
the Opera House for a photo shoot.

Finally, General/Artistic Director Pelham "Pat" Pearce opened the Opera House and welcomed everyone to the 2014 Festival to near-dynamite applause. Pearce then directed everyone’s attention to the steps of St. James Methodist Church where the ushers sang their cheeky preshow tune. “We’re the ushers who show you to your seat, then nonchalantly we step upon your feet,” they sang, marching to the front of the Opera House.

Once the ushers finished their song, Central City Mayor Ron Engels presented the Opera Bell to Nancy Parker, Central City Opera’s current president. Parker rang the bell which signaled the St. James’ chimes to open Eureka Street for the Yellow Rose Waltz. Escorts then presented the Flower Girls to their fathers. Fathers and daughters began waltzing, then mothers joined in, and finally the rest of the guests until Eureka Street was swaying in three/four time, a harmony of lavender dresses, black tuxedos, and glimmering jewelry.

Festival Services Manager Allison Taylor (blue dress)
poses with this year's ushers/interns.

Guests next enjoyed a sumptuous meal (provided by Kevin Taylor Restaurant Group) in the Teller House before The Marriage of Figaro’s 8:00 curtain. At intermission, Flower Girls handed out yellow nosegays to patrons so that they could be tossed onto the stage during curtain call. By the time lead performers Michael Sumuel and Anna Christy (as lovelorn servants Figaro and Susanna) took their bows, the stage and orchestra pit below were flooded with flowers. The cast – joined by conductor Adrian Kelly, director Alessandro Talevi, and his talented team of designers – beamed as some tried to snatch the whizzing nosegays.

“[It’s a joy] watching the principal artists rehearse and perform. As a young artist, I love observing how they interact with the director, maestro, fellow principals, crew, and chorus,” said Kelsey Park, a Studio Artist who plays a maid and other ensemble roles in Figaro. “We also have a blast backstage – getting ready in the dressing rooms is an exciting adventure. We ladies enjoy a lot of laughs.”

Fathers waltz with their daughters, the Flower Girls,
on Eureka Street on Opening Night.

Following the performance, the company congregated on the second floor of Williams' Stables for the after party. Still maintaining Figaro’s 1920s Spain concept, Lifestyles Catering provided a themed meal complete with vegetable paella and panzanella salad with sangria, concocted by Events Assistant Sarah Harrison complete with oranges, lemons, and limes.

Harrison had the laborious task of planning the party and making sure that everyone, from the interns to the principal performers, enjoyed themselves in the stables-turned-dancehall. “I had a lot of various details in my head from logistics to food and decorations, so putting everything together and finalizing everything was definitely the most challenging part. Seeing it all gradually come together has been incredibly rewarding,” Harrison said.

The Marriage of Figaro continues through July 26th. The second Festival production, Dead Man Walking, opens July 5th and runs in repertory through the 25th.

Preview of our Singers from our First Dress Rehearsal of FIGARO!

The cast of The Marriage of Figaro is quite excited to finally be in costume! Susan Kulkarni did a beautiful job designing the 1920s inspired costumes, and we're excited to share them with a live audience on Opening Night, June 28. Until then, take a sneak peak at our social media-savvy singers tweeting, Facebooking and Instagram-ing themselves in costume backstage!

Almost orchestra dress rehearsal time @ccityopera for #Figaro #CCO2014
— Michael Sumuel (@MichaelSumuel) June 25, 2014

From Joseph Gaines, Tenor's Facebook page

Thanks for viewing, and we hope to see you at one of our 2014 Festival performances!

Central City Opera Showcases Young Artists with “Death by Aria”

Editor's Note: Here's our first blog post for the 2014 Festival from Marketing/Public Relations Assistant Billy McEntee. You'll be seeing many blogs from Billy "on the Hill" over the next few months. 

“Death by Aria.” Truly, it’s not so different from death by chocolate. It’s a bit of a marathon, but ultimately both are savory and filling. Central City Opera kicked off its 2014 Festival with this unique event that successfully showcased the talented performers of the Bonfils-Stanton Foundation Artists Training Program under the direction of Michael Ehrman. These performers will be seen and heard at the Opera House and the Denver Performing Arts Complex later this summer, giving audience members a promising forecast of what’s to come.

Studio Artist Michael Kuhn closes Act I with an aria from The Rape of Lucretia by Benjamin Britten with Michael Baitzer at the piano during Central City Opera’s “Death by Aria”

Gilman Hall, with its rich acoustics yet intimate setting, played host to the 31 Studio Artists and Apprentice Artists, all of whom comprise the Bonfils-Stanton Foundation Artists Training Program and perform in the chorus or in bit roles for Central City Opera’s 2014 Festival. These well-dressed and well-rehearsed singers each performed an aria of choice (all accompanied by the skilled and tireless Michael Baitzer). Opera selections were as diverse as the mishmash of chairs in Gilman Hall. The pieces ranged from Mozart’s Le nozze di Figaro (The Marriage of Figaro) to Bolcom’s A View from the Bridge while the audience sat in seats from similarly varying time periods – tubular Thonet chairs meshed with pastel painted wooden ones. The haphazard mix of songs and setting highlights one of Central City Opera’s strengths: creating a diverse composition of artists and performances.

Despite only a handful of English pieces, the “Death by Aria” singers masterfully communicated sentiments of rage, longing and bliss in their foreign songs. Isaac Bray justly received a rousing ovation for his Handel aria in which he sang fleeting grace notes with exquisite clarity. Following Bray, Karina Brazas crafted a wonderful marriage of shyness and yearning in her aria from Donizetti’s L'eliser d'amore (The Elixir of Love). These changes in character were perfectly mirrored in Brazas’ morphing dynamics. Shortly after, Evan L. Johnson showed off his high notes with his piece from Gounod’s Faust. Johnson’s suave voice coasted comfortably on Gounod’s melody.

While “Death by Aria” let audience members hear individual singers outside of their main duty as chorus performers, the singers certainly showed little pressure to impress as they performed solo for each other. In fact, there was more camaraderie than competition in Gilman Hall. As a singer exited after his bow another made his way to the stage, patting his peer on the back. When Chanáe Curtis accidentally performed during Tim Bruno's slot, he patiently waited his turn and then sarcastically quipped, “I’ve got my eye on you, Chanáe” before performing his piece.

Toward the end of Act I, Maya Kherani elicited laughter with her selection from Handel’s Alcina. Kherani shined with her elongated and mellifluous ah’s during which she easily shifted from timid to coquettish. In Act II, Kelsey Park used diction as her weapon of choice for her Mozart aria. She effectively maintained her articulation while still playing a flustered, exasperated character.

With their unwavering talent and professionalism, these young performers certainly set the bar high for the Principal Artists who play leading roles. The nearly two-and-a-half hours of performances certainly satiated the audience’s musical appetite, but most importantly “Death by Aria” gave a taste of how versatile these 31 young artists are. The audience left Gilman Hall happily craving more, which may have not been the case with a chocolate buffet.

Want to see more of Central City Opera's talented young singers? In addition to our mainstage productions, check out Short Works or Lunch & A Song. They're also featured in our sold-out production Trouble in Tahiti.

Competition Winners Everywhere with Central City Opera Connections

Here in Colorado, we've been following the recent Denver Lyric Opera Guild competition quite a bit, especially since four of our Ensemble Artists went on to the final round last Saturday. But as competition season has been in full swing around the country, we've noticed several other familiar names. Take a look:

Last weekend, past Studio Artist (2010 & 2011, Soprano) Audra Methvin took the top prize in the Dallas Opera Guild Vocal Competition.

Audra Methvin

Tonight, former Ensemble Artist Megan Marino (Mezzo-Soprano) competes in the finals of the Marcello Giordani Foundation International Vocal Competition. [Update: Megan also placed third in the Shreveport Opera Singer of the Year Competition March 9th; one of the judges was Marc Astafan (Director, The Barber of Seville).]


And during the recent Denver Lyric Opera Guild competition, there were familiar names on both sides of the final judges' panel, including composer Jake Heggie (Dead Man Walking, Three Decembers) and baritone Matthew Worth (Oklahoma!, Orpheus in the Underworld). CCO Ensemble Artist Teresa Castillo brought home second place, while three additional Ensemble Artists received honorable mention: Antoine Hodge, Emily Murdock and Benjamin Wood.

Judges Matthew Worth, Jake Heggie and Dona D. Vaughn.
Photo from the DLOG Facebook page.



Please let us know if there are others we missed!

Updated 7:17 pm:

Tenor Daniel Shirley, Apprentice Artist in 2008, is shown here in the finals of the American Traditions Competition at the Savannah Theatre on February 28, 2014. He received fifth place.

Short Works: The Show Before the Show

One of the gems of Central City Opera’s Summer Festival is our presentation of Short Works, also known as Opera Scenes. These half-hour performances put young artists in the spotlight and allow them to show off their diverse skills in acting and performing. Just as the name implies, these are not full opera performances but rather selected scenes from a variety of operas by a multitude of composers. So far, Central City Opera has presented scenes from Orfeo Ed Euridice, Ragtime, Cendrillon, The Elixir of Love, Manon, Street Scene, The Rake’s Progress, Eugene Onegin, Alladin, The Sound of Music, Dead Man Walking and The Marriage of Figaro. The latter three will be presented in full by Central City Opera during the 2014 Festival.

CCO Studio Artist Siena Forest gets her time in the spotlight

Not only do these give the young artists an opportunity to hone their skills, but it also allows aspiring directors a chance to perfect their art form as well. The scenes are directed by 2013 Festival Assistant Directors Corinne Hayes (Our Town,) Stephanie Havey (The Barber of Seville,) and Kyle Lang (Show Boat). Lang says that directing Short Works gives him a chance to “try different approaches, being that a scene may not necessarily need to be in the context of the full opera.” He also went on to say that “It’s such a great opportunity to work with young artists and to learn how people may take direction differently. The process that may be needed for one person may not be what is best for another.” So it is the creative team that gets personal and professional growth out of Short Works in addition to just the artists.                                                                 

Patrons enjoy an afternoon Short Works performance inside of Williams Stables

From the young artists’ perspective, Short Works is their opportunity to practice performing in front of an audience and to learn about and engage in a variety of diverse operas and musicals. While most young artists have roles in the feature productions either in the chorus or as a side role, Short Works puts them front and center and raises them to be the stars of that afternoon’s performance.

The next Short Works will be presented at Williams Stables tomorrow at 1:15 p.m. prior to the matinee performance, and at the same time on the additional dates of July 24th, 27th, and 28th. Tickets can be purchased in advance or day-of-show for the price of $12 or $8 for subscribers. These are a great way to whet your appetite before a matinee performance in the Opera House and to see future opera stars in a casual and intimate setting.
                                                                         

      

Music and Martinis: A Night to Remember with the Stars of Tomorrow

Daniel Belcher has come full circle. He was once a student of John Moriarty in Central City Opera’s esteemed Young Artists Training Program, and is now about as accomplished as an opera star can be. So Thursday night when Belcher joined General & Artistic Director Pat Pearce to discuss the Program and its importance to the careers of up and coming singers, he spoke with the most sincerity. He had experienced the merits of the Program first hand, and strongly believes in what it can do for a young opera singer.

Belcher and Pearce were joined by approximately 350 supporters of Central City Opera inside Denver University’s Cable Center for Music and Martinis. The evening began around 6pm as guests filtered in and were treated to an open bar as well as a wide array of items up for silent auction. Some of the auction items included a rather large framed replica painting of “The Face on the Barroom Floor,” a travel package that included tickets to a performance at Santa Fe Opera, and a tour of Anne Evans’ mountainside cabin. There was also a live auction later in the evening led by pro auctioneer Gary Corbett, whose delivery provided another form of entertainment in itself. Guests were able to mingle amongst themselves as well with Central City Opera staff and artists as they sipped their martinis and placed their bids.

At around 8:00, dinner was served. It was very impressive to see the catering company move like the professionals they are, serving every patron an exquisite plate of beef short ribs with black-eyed pea ragu so efficiently. As dinner came to a graceful end, the part of the night that it seemed all were waiting for was set to begin: the music! However before the young artists could serenade the crowd, Daniel Belcher and Pat Pearce provided the aforementioned entertaining welcome and discussion. Their conversation, set on a riser between the two pianos and in front of a state-of-the-art video screen system, touched upon a range of topics. But the overlying motif, as you may guess, was the importance of the internationally recognized Bonfils-Stanton Foundation Artists Training Program and the niche it has filled within the opera community.

The musical performers of the evening included six of Central City Opera’s 2013 Apprentice Artists: Alexander Elliott, Ian O’Brien, Amy Owens, Shea Owens, Aleksandra Romano and Max Wier. They were accompanied on the piano by Principle Coach of the Training Program Michael Baitzer and 2013 Assistant Conductor Thomas Getty. Towards the end of the evening, the crowd was even treated to a rare a cappella performance by Pat Pearce and a not-so-rare, though always special performance by Daniel Belcher. While this summer Belcher will be singing in Italian as Figaro in our production of TheBarber of Seville, this time he switched it up and did a number in English and French. The evening came to a close as the six Young Artists came together as one to sing a rousing rendition of “Can’t Help Lovin Dat Man” from Show Boat, being presented in a brand new production by Central City Opera at Denver’s Buell Theatre this August.

Tom Getty accompanies Apprentice Artists Max Wier and Aleksandra Romano.

And while the evening was a celebration of Central City Opera and the Young Artists Program, it was also a celebration of our strong community and the support we receive to make year after year a reality. Without that generous support, Central City Opera would not be able to operate and function up to the standards that have been built over the past 81 years.

It Takes a Village: Preparations "On the Hill"

As artists and staff members show up in Central, there is little time to “settle in” before they immediately get to work on preparing for the fast approaching Festival. Whether they are stagehands or Apprentice Artists, music staff or props interns, most Company members dive into their roles very quickly upon arrival and hit the ground running.

Chorus Master Levi Hammer conducts a rehearsal with young artists inside of the Foundry Building.

Of course, many artists and staff members begin their preparations well before they even step foot in Central City or a company rehearsal room. Singers are hard at work months before they arrive perfecting their performance pieces so that they are well prepared by the time they officially begin rehearsals and coachings. That commitment makes the work of Music Director John Baril and Bonfils-Stanton Foundation Artists Training Program Director Marc Astafan much easier, I would believe. “The first few weeks have been great!” said Mr. Astafan, who also went on to say that the positive vibe he has been getting from all the young artists has been “infectious."

Props Interns Sarah Alverson and Ryan Miller begin their work almost immediately upon arrival in Central City.

Speaking of our young artists, the highlight of the first few weeks is the Death By Aria event, in which the Apprentice Artists show off their hard work and talent to an audience for the first time in Central City. Death By Aria took place in the Foundry Rehearsal Building last Sunday in front of an audience that included Guild members, festival/administrative staff, and fellow artists. Each young artist had the opportunity to sing a selection of their choice, which included a wide range of pieces. The young artists are also well on their way to being prepared for the start of the Lunch & a Song recitals. Singers have been busy choosing their repertoire and rehearsing with accompanists to prepare for their moment to shine inside of the Teller House on matinee days.

The “O”Man observes as Costume Shop Supervisor Janetta Turner and Stitcher/Dresser Lauren Allmeyer receive wardrobe materials.

The behind-the-scenes staff members are hard at work during these first few weeks as well. The costume and wardrobe team, headed by Janetta Turner, has been receiving packages daily in preparation for the Festival, some weighing upwards of 100 pounds! Production Scheduler Roxanna Tehrani may be the unsung hero of the company, as she works diligently day in and day out composing master schedules of rehearsals, coachings, fittings, and more. Staffer/Gift Shop Intern Laura Pancoast and Denver Office Administrator Wanda Larson have spent many hours over the past few weeks stocking and taking inventory of the Teller House Gift Shop, ensuring its readiness well in advance of Opening Night. The list could go on seemingly forever, with every staff and crew member playing each of their important roles to make every Festival a success. 

And the preparations will continue until opening night on June 29th! So while you are enjoying some opera in Central City this summer, take a minute to think about all of the little things that go into making the Festival possible. From the artists and year-round staff right down to the interns, everyone has their niche within the company and has been hard at work from the very beginning of arrival in Central City, or in some cases, well before then.

Bonfils-Stanton Foundation Artists in the Spotlight

This Thursday afternoon (August 9 at 2:30pm), you can witness the splendid young artists of Central City Opera's 2012 Festival as they take the stage in the lead roles of La Bohème during our Nina Odescalchi Kelly Family Matinee. These hardworking and extremely talented artists, most of whom are in their college years, are usually seen in the chorus and in minor roles of our main stage operas. They also star in their own smaller productions like Short Works and The Face on the Barroom Floor, but on this date they get the chance to shine in the spotlight front and center.

Kaitlyn Costello starred in the Family Matinee performance of Carmen last year; this summer she made her main stage debut as Ado Annie in Oklahoma!

Earlier this year, the Opera Insider caught up with Marc Astafan, who has recently taken the reins as administrator of the Program.

Marc Astafan,  Administrator

Bonfils-Stanton Foundation

Artists Training Program

CCO:  You’ll be returning to Central City Opera this summer in a new capacity; Administrator of the Bonfils Stanton Artists Training Program.  You’ve been here many times as a Stage Director, and before that as an Assistant Director, working directly with young artists. The Training Program, as established by John Moriarty, is known as a rigorous preparation for young artists pursuing a career in opera, with required classes in diction, audition techniques and stage movement, and opportunities to perform full roles on the main stage as well as scenes and recitals.

As a Central City Opera veteran, what are your observations about the challenges and opportunities for young artists in this program?

MARC:  The challenges and opportunities faced by the young artists who participate in the Central City program are many, but the main one that comes to mind is: stamina. We work six days a week and nine hours a day (sometimes more!) for ten to twelve weeks straight over the summers in Central. Every part of the body, heart and mind will be called upon for these young singers to use. Not to mention the voice. They have classes every morning and rehearsals and/or coachings for the rest of the day, sometimes until ten or eleven at night. But year after year I've witnessed the fact that the more the singers put into the program, the more they gain. They will not only feel great, but perform better than they ever thought possible by the time they leave Central City in mid-August. When one is immersed in creativity for such an intense period all of the senses are at work. They might leave exhausted, but with a tremendous sense of accomplishment, knowing they've been a part of something extraordinary. They'll have personal and artistic growth that they never thought imaginable.

The full interview with Marc Astafan (as well as the Program's Principal Coach Michael Baitzer) is available in the 2012 Opera Insider (Festival Resource Guide - PDF). 

Tickets are still available for the Family Matinee performance this Thursday. You can also see these talented Young Artists during Lunch & A Song, Short Works, and in the chorus and secondary roles of the remaining La Bohème performances. All performances of Oklahoma! are sold out.

Character Spotlight: OKLAHOMA!'s Will Parker

Erin Joy Swank, of the Education & Community Programs Department, recently caught up with baritone Curt Olds. Below is an excerpt from that interview.

Welcome back to Central City Opera! We last saw you on stage as John Styx in Orpheus in the Underworld (2010). While keeping guard over Eurydice in Hades, you entertained us in song and dance. This summer you’ll once again charm the audience as the dancing rodeo cowboy Will Parker in Oklahoma!

You’ve made a career out of working as a “triple threat,” a performer who acts, sings and dances. Can you explain the similarities and differences working in opera, musical theatre and dance?

Thanks for the compliment of calling me a "triple threat." The skills that might make me a "triple threat" as you say (singing, acting and dancing) come out of my theatre training and years of doing musicals as a child and young adult. In the musical theatre world, a performer definitely has to possess a singing voice, but singing tends to be on equal footing with acting ability and, if the dramatic moment calls for it, the singing might be compromised for dramatic effect. Regarding dance, if a singer also happens to have the ability to dance, then it opens an entire new world of casting possibilities. In the operatic world, singing and attention to the voice is everything. If an opera singer possessing a world-class voice can also act -- and I mean not only just while singing, but also in the moments on stage that are unsung -- then they have the makings of a major career. But the voice and ability to use it come first. And that is a very good thing. For most opera singers, acting skills are developed later because of the heavy requirements of foreign languages and the study of historical performance practices. With me, when I was studying opera, I put all serious acting, dancing and musical theatre study on the back burner for a little over six years. I had to concentrate on vocal studies and languages. My main objective when performing is to affect the audience, to move them, to make them feel. Any extra skill to help do that is a bonus.

Central City Opera’s ORPHEUS IN THE UNDERWORLD (2010). Pictured (L to R): Joanna Mongiardo (Eurydice) and Curt Olds (John Styx). Photo by Mark Kiryluk.

You’ve played Curly in a past production of Oklahoma! What is it like to prepare for the role of Will Parker this time?

When I played Curly, all I really wanted to do was play Will Parker. I am definitely a casting possibility for Curly, but personally, I am much more like Will Parker and I understand the comic elements of the role. Curly is cool, steady. He has to be to deal so keenly with Jud Fry. Will is a wild card and easily excitable. The great thing about Oklahoma! is I still get to be handsome and cute outside of the central romantic leading man. I feel very fortunate to have played both roles professionally and Rodgers and Hammerstein shows are always so fulfilling to perform. I did The Sound of Music earlier this season and Oklahoma! is a personal favorite of mine. Win win.

Central City Opera’s OKLAHOMA! (2012). Pictured: Kaitlyn Costello (Ado Annie), Curt Olds (Will Parker). Photo by Kira Horvath.

You were also a past Apprentice and Studio Artist with Central City Opera. What did you learn or practice in the artist training program that helped you in your career development?

The Bonfils-Stanton Training Program was instrumental to any success I have enjoyed over the past twenty years. I was a college kid from Montana with no idea how to approach a singing career on a national level. I came to Denver and sang for John Moriarty and it changed my life. Not only did Central City Opera's training program offer wonderful classes in diction, audition technique, movement, and repertoire, but it also provided me with quality stage time in comprimario [supporting] roles, recital engagements and scenes concerts. That first summer with Central City Opera led to my graduate studies at New England Conservatory and additionally, Central City Opera gave me some of my first principal roles. I will be forever grateful.

The full interview with Curt will be available in the 2012 Opera Insider (festival resource guide) very soon. Stay tuned for more insider interviews!

Celebrating John Moriarty

Artistic Director Emeritus John Moriarty is spending his first summer of retirement where he's spent the last thirty-three: in Central City.  Last night, Central City Opera celebrated his years of service during a reception at the Gilpin County Arts Association Gallery across the street from the Opera House.


Mr. Moriarty first arrived in Central City in 1978 and founded the Bonfils-Stanton Foundation Artists Training Program. After the company ran into financial trouble and cancelled the 1982 Festival, the Board of Directors asked him to become artistic director. When he transitioned to the role of artistic director emeritus in 1998, he continued to serve as the administrator of the training program through 2011.

At the reception, Mr. Moriarty explained that before he came to Central City, he had never spent more than seven years at any one opera company. Little did he know that he'd be spending the next three decades with Central City Opera.  

One of his accomplishments in his tenure as artistic director was creating the Lanny and Sharon Martin Foundry Rehearsal Center. Until that point, the company rehearsed on the creaky second floor of Williams' Stables and any other large space in town they could rent. John Moriarty had the vision of turning Peter McFarlane's old foundry, a few blocks west of the Opera House on Eureka Street, into a brand new rehearsal center. One of the busiest and most used buildings in Central City, the facility now houses three rehearsal halls, four smaller studios, the props shop and stage management office. At tonight's reception, President/Chairman of the Board Nancy Parker announced that one of the building's rehearsal halls, previously known as "Minor" will now be named "Moriarty Hall." Now, not only will John Moriarty's legacy live on in Central City through the countless contributions he has made to Central City Opera, but also in the rehearsal hall that bears his name. 

Jennifer DeDominici and John Robert Lindsey star in CARMEN with Opera Fort Collins

If you didn't get enough of Carmen this summer, you might want to head up to Fort Collins this weekend. Central City Opera has ties to the two leads of Opera Fort Collins' production of Bizet's classic.

Jennifer DeDominici (Carmen) and John Lindsey (Don José) in Opera Fort Collins' production of Carmen

Jennifer DeDominici (Carmen) portrayed Pitti Sing in The Mikado, a Central City Opera collaboration with the Colorado Symphony a few years ago, and is a member of the Central City Opera Ensemble. As part of our "Where is Carmen?" marketing campaign for the Denver performance of Carmen this summer, Jennifer entertained audiences at Comedy Works with a sampling of the saucy diva.

Earlier in the spring, she also performed the "Habanera" and other opera tunes at one of the "Untitled" events at the Denver Art Museum.

(That's our own version of "supertitles" in the background.)

As for Carmen's love interest Don José, John Robert Lindsey will sing the role for Opera Fort Collins in the same production. This summer, John was a Studio Artist with Central City Opera, where his Short Works performances included scenes from Ariadne Auf Naxos, Susannah and A View from the Bridge, as well as in the ensemble for Carmen, Amadigi di Gaula and The Breasts of Tiresias. As a student at the University of Colorado - Boulder last year, John also toured with the Central City Opera as part of our Opera Rocks the Rockies tour, an annual collaboration with the University of Colorado Opera Studies program. (Jennifer also participated in this tour a few years earlier as a CU student.) Pictured below, John performed pieces from Carmen with Nicole Vogel and pianist Michael Tilley in Opera Rocks the Rockies.

Central City Opera and the University of Colorado Opera Studies will hit the road again in November with their annual Opera Rocks the Rockies tour featuring tomorrow's opera stars. Stay tuned for further details of this tour scheduled to include schools and community centers in Wyoming and a few Denver-area venues. To book a performance at your venue, visit the Regional Touring page or contact education@centralcityopera.org.

Watch Jennifer and John heat up the stage in Carmen with Opera Fort Collins at the recently renovated Fort Collins Lincoln Center. Performances are Friday, August 26th, at 7:30 p.m.and Sunday, August 28th at 2 p.m.

Photo credits: Opera Fort Collins publicity photo as published on ReporterHerald.com; Where is Carmen? - Hilary Miller; Untitled - Christina Jackson, Denver Art Museum; Opera Rocks the Rockies - Erin Joy Swank

TOMORROW: The Nina Odescalchi Kelly Family Matinee Performance of Bizet’s CARMEN

For many, opera is an unexplored art form; a virtual unknown which when mentioned might raise imagery of many varied stereotypes. But as we've focused on with our marketing campaign this year, Central City Opera is an experience that's accessible and enjoyable, with offerings for all ages and tastes.

For children, a first opera can be a life-changing experience. In the historic 550-seat opera house in Central City, a child’s proximity to the story can have a powerful impact; moreover, it’s like live-action television where you can’t take your eyes off of it. Central City Opera's upcoming Family Matinee performances feature the talented artists of the Bonfils-Stanton Foundation Artists Training Program in fully staged productions which include a narrator’s preview before each act and an autograph session with the singers following the performance.

2010 Family Matinee autograph sessions from MADAMA BUTTERFLY (above) and ORPHEUS IN THE UNDERWORLD (below). Photos by Mark Kiryluk.

 

What better story than Carmen than to introduce your child to the world of opera? Full of emotion, there is plenty of action mixed with a powerful and memorable musical score. So don’t miss this opportunity to introduce your child, or yourself, to opera at tomorrow’s matinee. Tickets are just $15 for kids 6-18, and $20 for adults.

A second family matinee performance, Amadigi di Gaula, takes place on August 4th. All kids are welcome to dress up in a magical wizard or prince/princess costume to be eligible to win prizes from The Wizard's Chest. Be sure not to miss their wizard and magic show at 2:00 pm in the Opera House Garden before the matinee. Mention Central City Opera and get 25% off of a costume at The Wizard's Chest. For an extra $10, attend Take a Child to the Opera at 1:00 pm, which includes pre-performance family fun activities, theatre games, and a post-opera talkback.

Purchase tickets to either of these events online, by calling (303) 292-6700 or stopping by our Central City Box Office, located in the historic Teller House on the main level (open two hours before each performance only).